Bobbi Humphrey - Blacks And Blues

Bitrate: MP3@320K/s
Time: 39:32
Size: 90.5 MB
Styles: Jazz-funk
Year: 1974/1999
Art: Front

[6:33] 1. Chicago, Damn
[7:49] 2. Harlem River Drive
[6:32] 3. Just A Love Child
[4:35] 4. Blacks And Blues
[5:13] 5. Jasper Country Man
[8:48] 6. Baby's Gone

Backing Vocals, Arranged By [Vocal Arrangements] – Fred Perron, Larry Mizell & Fonce Mizell; Clavinet, Trumpet – Fonce Mizell; Congas – King Errison; Drums – Harvey Mason; Electric Bass [Fender] – Chuck Rainey, Ron Brown; Flute, Vocals [Solo] – Bobbi Humphrey; Guitar – David T. Walker, John Rowin; Percussion – Stephanie Spruill; Piano, Electric Piano [Fender Rhodes] – Jerry Peters; Synthesizer [Arp] – Fred Perren. Recorded June 7 & 8, 1973 at Sound Factory, Hollywood, California.

Bobbi Humphrey scored her biggest hit with her third album Blacks and Blues, an utterly delightful jazz-funk classic that helped make her a sensation at Montreux. If it sounds a lot like Donald Byrd's post-Black Byrd output, it's no accident; brothers Larry and Fonce Mizell have their fingerprints all over the album, and as on their work with Byrd, Larry handles all the composing and most of the arranging and production duties. It certainly helps that the Mizells were hitting on all cylinders at this point in their careers, but Humphrey is the true star of the show; she actually grabs a good deal more solo space than Byrd did on his Mizell collaborations, and she claims a good deal of responsibility for the album's light, airy charm. Her playing is indebted to Herbie Mann and, especially, Hubert Laws, but she has a more exclusive affinity for R&B and pop than even those two fusion-minded players, which is why she excels in this setting. Mizell is at the peak of his arranging powers, constructing dense grooves with lots of vintage synths, wah-wah guitars, and rhythmic interplay. Whether the funk runs hot or cool, Humphrey floats over the top with a near-inexhaustible supply of melodic ideas. She also makes her vocal debut on the album's two ballads, "Just a Love Child" and "Baby's Gone"; her voice is girlish but stronger than the genre standard, even the backing vocals by the Mizells and keyboardist Fred Perren. Overall, the album's cumulative effect is like a soft summer breeze, perfect for beaches, barbecues, and cruising with the top down. ~Steve Huey

Blacks And Blues

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Ray Brown - With My Friends Herb Ellis & Serge Ermoll

Bitrate: MP3@320K/s
Time: 35:01
Size: 80.2 MB
Styles: Bop, Mainstream jazz
Year: 2015
Art: Front

[5:36] 1. Tristé
[4:38] 2. I Love You
[3:33] 3. Au Privave
[5:29] 4. Autumn Leaves
[5:28] 5. All The Things You Are
[3:46] 6. Doxy
[6:28] 7. My Funny Valentine

The huge and comfortable sound of Ray Brown's bass was a welcome feature on bop-oriented sessions for over a half-century. He played locally in his native Pittsburgh in his early days.

Arriving in New York in 1945, on his first day in town Brown met and played with Dizzy Gillespie, Charlie Parker, and Bud Powell. He was hired by Gillespie for his small groups and his big band; "One Bass Hit" and "Two Bass Hit" were early features, and he can be seen with Dizzy Gillespie in the 1947 film Jiving in Bebop. Although not a soloist on the level of an Oscar Pettiford, Brown's quick reflexes and ability to accompany soloists in a swinging fashion put him near the top of his field. After playing with Jazz at the Philharmonic, he married Ella Fitzgerald (their marriage only lasted during 1948-1952), and for a time led his own trio to back the singer. Brown recorded with an early version of the Modern Jazz Quartet (under Milt Jackson's leadership), and then became a permanent member of the Oscar Peterson Trio (1951-1966).

With Peterson, the bassist traveled the world, guested with other top jazz artists, was featured on JATP tours, became famous, and recorded constantly. He began playing cello in the late '50s, and used it on a few of his own dates. After leaving Peterson, Brown settled in Los Angeles, worked in the studios, continued recording jazz, and worked as a manager of several artists (including the Modern Jazz Quartet and Quincy Jones). He played with the L.A. Four starting in 1974, did a great deal to revive the careers of Ernestine Anderson and Gene Harris, and recorded extensively for Pablo and Concord. The Ray Brown Trio featured pianists Gene Harris, Benny Green, and Geoff Keezer, along with drummers Jeff Hamilton and Greg Hutchison, and recorded for Concord and Telarc. He continued touring up until his death, dying in his sleep while napping before a show in Indianapolis on July 2, 2002. His last batch of sessions, working as a trio with pianist Monty Alexander and guitarist Russell Malone, were released that fall. ~bio by Scott Yanow

With My Friends Herb Ellis & Serge Ermoll

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The Intruders - Playlist: The Very Best Of The Intruders

Bitrate: MP3@320K/s
Time: 42:25
Size: 97.1 MB
Styles: R&B, AM Pop
Year: 2012
Art: Front

[2:56] 1. Together
[2:54] 2. A Love That's Real
[2:50] 3. (We'll Be) United
[2:37] 4. Cowboys To Girls
[2:19] 5. Me Tarzan, You Jane
[2:54] 6. Friends No More
[2:24] 7. Slow Drag
[2:44] 8. (Love Is Like A) Baseball Game
[1:54] 9. Sad Girl
[3:20] 10. When We Get Married
[2:44] 11. Jack Be Nimble
[2:43] 12. (You'd Better) Check Yourself
[6:28] 13. I'll Always Love My Mama
[3:32] 14. Energy Of Love

From 1966 through 1975, Philly soul group the Intruders placed two dozen singles on the R&B chart, roughly a dozen of which are missing from the 14-track Playlist: The Very Best of the Intruders. Despite all the missing highlights, most of the group’s well-known songs are included. Casual fans are likely to expect Top Ten R&B hits like “Together,” “Cowboys to Girls” (the group’s lone number one), “(Love Is Like A) Baseball Game,” “When We Get Married,” and “I’ll Always Love My Mama,” and they will get them here, along with a smattering of relatively minor singles that are not filler. Those who want a more thorough overview should check Cowboys to Girls: The Best of the Intruders, originally released in 1995 and reissued years later. ~Andy Kellman

Playlist: The Very Best Of The Intruders

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Anita O'Day & Cal Tjader - Thanks For The Memories

Bitrate: MP3@320K/s
Time: 31:51
Size: 72.9 MB
Styles: Vocal jazz
Year: 2010
Art: Front

[2:45] 1. Thanks For The Memories
[2:59] 2. It Shouldn't Happen To A Dream
[2:46] 3. Just In Time
[2:22] 4. Under A Blanket Of Blue
[2:52] 5. That's Your Red Wagon
[3:02] 6. Peel Me A Grape
[2:27] 7. An Occasional Man
[2:20] 8. The Party's Over
[2:23] 9. I Believe In You
[1:55] 10. Mr. Sandman
[3:23] 11. Spring Will Be A Little Late
[2:32] 12. I'm Not Supposed To Be Blue

Anita O'Day (born Anita Belle Colton; October 18, 1919 – November 23, 2006) was an American jazz singer widely admired for her sense of rhythm and dynamics, and her early big band appearances that shattered the traditional image of the "girl singer". Refusing to pander to any female stereotype, O'Day presented herself as a "hip" jazz musician, wearing a band jacket and skirt as opposed to an evening gown. She changed her surname from Colton to O'Day, pig Latin for "dough," slang for money.

O'Day, along with Mel Tormé, is often grouped with the West Coast cool school of jazz. Like Tormé, O'Day had some training in jazz drums (courtesy of her first husband Don Carter); her longest musical collaboration was with jazz drummer John Poole. While maintaining a central core of hard swing, O'Day's skills in improvisation of rhythm and melody put her squarely among the pioneers of bebop.

She cited Martha Raye as the primary influence on her vocal style, also expressing admiration for Mildred Bailey, Ella Fitzgerald, and Billie Holiday. She always maintained that the accidental excision of her uvula during a childhood tonsillectomy left her incapable of vibrato, and unable to maintain long phrases. That botched operation, she claimed, forced her to develop a more percussive style based on short notes and rhythmic drive. However, when she was in good voice she could stretch long notes with strong crescendos and a telescoping vibrato, e.g. her live version of "Sweet Georgia Brown" at the 1958 Newport Jazz Festival, captured in Bert Stern's film Jazz on a Summer's Day.

Thanks For The Memories

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James Andrews - Expressions

Bitrate: MP3@320K/s
Time: 29:39
Size: 67.9 MB
Styles: Fusion jazz
Year: 2012
Art: Front

[3:25] 1. Let The Horns Play
[3:39] 2. Groove With Me
[4:05] 3. Down The Road
[4:18] 4. Nobody Like You
[3:29] 5. I Know Someone
[6:01] 6. This Is To You
[0:58] 7. Improv
[3:42] 8. Drummer's Groove

The long awaited debut album of James Andrews is a soulful blend of jazz, gospel and inspirational songs featuring very talented artists such as Kyra Brown, Andrea Andrews and more. The instrumentation for this album was produced, recorded, mixed, and mastered by James Andrews for Expected Ends Media Productions LLC.

James Andrews has been in the recording world for over 15 years and has had the opportunity to work with many artists to help bring their musical dreams to reality. He formed Expected Ends Media Productions LLC after relocating to Atlanta, Ga in 2006. Expected Ends Media Productions LLC is a graphic and web design, music and video production company that covers all aspects of business branding and advertising. It is his prayer that this Cd will touch the hearts and lives of those it comes in contact with.

Expressions

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J.R. Monterose - J.R. Monterose

Styles: Saxophone Jazz
Year: 1956
File: MP3@320K/s
Time: 48:45
Size: 111,8 MB
Art: Front

(6:59)  1. Wee-Jay
(5:18)  2. The Third
(8:06)  3. Bobbie Pin
(6:33)  4. Marc V
(9:04)  5. Ka-Link
(5:26)  6. Beauteous
(7:17)  7. Wee-Jay (alternate take)

Tenor saxophonist J.R. Monterose (Frank Anthony Monterose, Jr.) made only two appearances on Blue Note, both in 1956 one with trumpeter Kenny Dorham's Jazz Prophets recorded live at the Café Bohemia and the other as a leader of his own crack hard bop unit. It was an early ascendancy for Monterose, who had recorded with bassist Charles Mingus, vibraphonist Teddy Charles, and worked in the big bands of arranger Claude Thornhill and drummer Buddy Rich. But unlike tenor players Sonny Rollins, Hank Mobley and Tina Brooks, Monterose wouldn't make a home (and barely a sonic dent) on Alfred Lion's label, much less in New York. He was soon back in his hometown of Utica and not long for a European sojourn that lasted most of the rest of his life.  Presumably, it had nothing to do with Monterose's abilities that his time with Blue Note was so brief; rather, a loss of the proverbial cabaret card scuttled his appearances in the city and his ability to make work. On this program of three originals and readings of tunes by session drummer Philly Joe Jones, Paul Chambers and Donald Byrd, he's joined by scene regulars in pianist Horace Silver and Jones, as well as Chicagoans bassist Wilbur Ware and multi-instrumentalist Ira Sullivan. Sullivan is heard here on trumpet, but also had baritone, alto saxophone and flute in his arsenal.  Perhaps one reason Monterose's name isn't mentioned even among the heavy birds in Blue Note's stable is because his sound was, even at this fairly early stage, extraordinarily individual echoes of Chu Berry and Coleman Hawkins in his massive tone and the odd, quotable cadences of Sonny Rollins. Yet his influence lay more in pianists. Harmonically, Monterose cited Bud Powell (which would give him a passing affinity with alto saxophonist Jackie McLean), and his solos are odd-metered whirls, half-dissolved licks and emphatic blats that seem directly linked to isolationist pianistic flourishes. The leader's mid-tempo composition "Wee Jay" is the lead-off track here, and is reprised in an alternate take on this Rudy Van Gelder remaster edition.

Monterose probes shards of the theme, a lilting and fragmentary cadence of honks and blats with their edges rounded and velvety, slowly strung together in flourishes and then broken apart. There are echoes of Rollins (circa the contemporaneous Vanguard recordings) in his attack. Lingering a little behind the beat he's still an extraordinarily rhythmic player, riding the rhythm section's wave in alternating swirls and pointillist jabs. Silver is conspicuously absent for the first few bars of Monterose's solo, perhaps trying to find a way in with his comping the tenor man's phrases are obviously a world unto themselves. For those used to Silver's hard, churchy approach, his touch is much lighter here, perhaps because Monterose, Ware and Philly Joe bring such meat to the proceedings. Donald Byrd's "The Third" follows; a jagged and nearly stop-time theme that fits well with Monterose's sinewy and stammering patterns as a soloist. He takes cues from Silver's arpeggiated cascades, hopping and pirouetting into a collective dance with Sullivan. The trumpeter is an excellent front line foil, a brittle and ragged logic that fills the holes in the leader's quixotic play of force and filigree. It's hard to imagine a player like Monterose making cookie-cutter hard bop sessions the likes of which fill out the catalogs of many jazz labels from the period. However, he was certainly up to the task of making a warm and utterly unique contribution to the field, and having this date available again in stunning sound is a welcome homage to an uncompromising and individual saxophonist. ~ Clifford Allen https://www.allaboutjazz.com/jr-monterose-jr-monterose-by-clifford-allen.php

Personnel:  J.R. Monterose: tenor saxophone;  Ira Sullivan: trumpet;  Horace Silver: piano;  Wilbur Ware: bass;  Philly Joe Jones: drums.

J.R. Monterose

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Bob Rockwell & Jesper Lundgaard - Light Blue

Styles: Saxophone Jazz, Post Bop
Year: 1995
File: MP3@320K/s
Time: 65:23
Size: 150,1 MB
Art: Front

(4:22)  1. Bird Feathers
(5:53)  2. Tea for Two
(5:22)  3. Nobody Else But Me
(5:56)  4. Squeeze Me
(5:28)  5. Love Walked In
(5:33)  6. Caravan
(8:02)  7. Sweet Lorraine
(7:04)  8. Three Little Words
(6:04)  9. When It's Sleepy Time Down South
(5:23) 10. Crazy Rhythm
(3:05) 11. Light Blue
(3:05) 12. After You've Gone

Bob Rockwell (born May 1945, Miami, Oklahoma) is a jazz saxophonist. He was born in the United States but emigrated to Denmark in 1983, where he has lived since. Rockwell was raised in Minneapolis, and in his early career he toured the U.S. in various rock and rhythm and blues bands. He worked in Las Vegas in the late 1960s and early 1970s, then moved to New York City, where he played with Thad Jones and Mel Lewis, Tito Puente, Ben Sidran, Freddie Hubbard, Ray Drummond, Billy Hart, Rufus Reid, Victor Lewis, Ron McClure, Tom Harrell, Chuck Israels, John Hicks, Al Foster, Anthony Cox, Bill Dobbins, Keith Copeland, Clint Houston, and Richie Beirach. After settling in Copenhagen, Rockwell released a large number of albums on jazz label SteepleChase Records. He has also worked in Europe with Ernie Wilkins, Kenny Drew, Alex Riel, Marilyn Mazur, Kenny Wheeler, Jan Kasperson, and Jesper Lungaard. https://en.wikipedia.org/wiki/Bob_Rockwell

Personnel: Bob Rockwell (soprano & tenor saxophones); Jesper Lundgaard (bass).

Light Blue

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Ramón Valle Trio - No Escape

Styles: Piano Jazz
Year: 2003
File: MP3@320K/s
Time: 63:24
Size: 153,0 MB
Art: Front

( 5:23)  1. El Vigia
( 5:50)  2. De vuelta a casa
( 4:44)  3. Fourty Degrees
( 6:08)  4. Viva Coltrane
(11:13)  5. Andar por dentro
( 4:58)  6. Ilegal
( 4:52)  7. Alice Blues
( 3:55)  8. Clouds
( 5:27)  9. Kimbara pá Ñico
( 5:09) 10. Brindemos
( 5:40) 11. Pesadilla

Although pianist Ramón Valle (who contributed all 11 selections), bassist Omar Rodríguez Calvo, and drummer Liber Torriente were all born originally in Cuba and are masterful with polyrhythms, the music that they perform on No Escape is more post-bop jazz than it is Latin or Afro-Cuban jazz. Valle's style recalls Herbie Hancock of the 1960s at times, although it is fairly original. Working closely with his sidemen, Valle performs pieces that are often dark, complex, and a bit dissonant but not without their lighthearted moments. Of these, "El Vigia" is an inventive jazz waltz, the lengthy "Andar por Dentro" sounds mysterious, and "Brindemos" swings hard in its fashion. None of these originals are destined to become standards, but they certainly do challenge the musicians, who somehow often sound as one, following each other telepathically and creating stirring music. ~ Scott Yanow http://www.allmusic.com/album/no-escape-mw0000335238

Personnel:  Ramón Valle – piano;  Omar Rodríguez Calvo – bass;  Liber Torriente – drums

No Escape

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Rigmor Gustafsson Quintet - Plan #46

Bitrate: MP3@320K/s

Time: 59:39

Size: 136.5 MB

Styles: Jazz vocals

Year: 1998/2011

Art: Front

[7:27] 1. Love Is A Little Late

[6:09] 2. The Catch

[6:42] 3. Prelude To A Kiss

[4:16] 4. Plan #46

[5:13] 5. Bluesette

[5:32] 6. Gelsomina

[6:46] 7. I Will Stay The Way I Am

[6:48] 8. Kumbaya

[4:25] 9. Rain

[6:15] 10. End Of A Love Affair

Bass – Hans Glawischnig; Drums – Roland Schneider; Piano – Tino Derado; Saxophone, Flute – Gabriel Coburger. Recorded at Systems Two, New York, September 1, 2 & 3, 1998.

An award-winning jazz vocalist from Sweden with an international following, Rigmor Gustafsson has strong ties to the United States, where she launched her career, as well as Germany, where she recorded for the ACT label, not to mention her homeland, where she is a contemporary jazz icon. In addition to her studio recordings and live performances, she's an accredited educator who taught at both the Royal Academy and Royal College of Music in Stockholm for a couple years before her singing career became a full-time profession. Born on April 12, 1966, in Värmskog, Sweden, Gustafsson studied at the Royal College of Music in Stockholm from 1986 to 1991, with a jazz vocal major, and received a Master of Fine Arts degree in music education in 1992. Upon graduating, she began working as a professional singer; moreover, she moved to New York City in 1993 and, in addition to working as a singer, studied at the New School Jazz Program. In 1994, while in New York City, she formed the Rigmor Gustafsson Quintet (Tino Derado, piano; Gabriel Coburger, saxophones, flute; Hans Glawischnig, bass; Roland Schneider, drums) with whom she toured Germany in 1995 and then again in 1996.

With her career now firmly established, she moved back to Sweden in 1996, settling in Stockholm, where she taught for a couple years, first at the Royal College of Music and then the Royal Academy. Her first two albums In the Light of Day (1996) and Plan #46 (1998), both released by Prophone Records  featured the aforementioned Rigmor Gustafsson Quintet and were well received critically.

Plan #46  

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Various - 16 Most Requested Songs: The 1950s Vols. 1 & 2

Album: 16 Most Requested Songs: The 1950s Vol. 1
Bitrate: MP3@320K/s
Time: 43:19
Size: 99.2 MB
Styles: Easy Listening, Vocal pop
Year: 1989
Art: Front

[2:45] 1. Guy Mitchell - My Heart Cries For You
[2:58] 2. Tony Bennett - Because Of You
[3:08] 3. Frankie Laine - Jezebel
[2:15] 4. Johnnie Ray - The Little White Cloud That Cried
[2:50] 5. Percy Faith & His Orchestra - Delicado
[2:19] 6. The Four Lads - Istanbul (Not Constantinople)
[3:39] 7. Doris Day - Secret Love (78rpm Version)
[2:22] 8. Joan Weber - Let Me Go Lover
[2:30] 9. Rosemary Clooney - Mambo Italiano
[1:39] 10. Fess Parker - The Ballad Of Davy Crockett
[3:01] 11. Mitch Miller & The Gang - The Yellow Rose Of Texas
[3:17] 12. The Four Lads - Moments To Remember
[2:36] 13. Johnnie Ray - Just Walking In The Rain
[2:25] 14. Guy Mitchell - Singing The Blues
[2:25] 15. Ray Conniff - 's Wonderful
[3:00] 16. Johnny Mathis - Chances Are

16 Most Requested Songs of the 1950s, Vol. 1 contains a selection of traditional pop, vocal pop and easy-listening hits from the Columbia Records vaults, including performances from Tony Bennett ("Because of You"), Percy Faith ("Delicado"), Guy Mitchell ("Singing the Blues," "My Heart Cries for You"), Mitch Miller ("Yellow Rose of Texas"), Ray Conniff ("'S Wonderful"), Frankie Laine ("Jezebel"), the Four Lads ("Istanbul (Not Constantinople)," "Moments to Remember"), Johnnie Ray ("Just Walking in the Rain"), Fess Parker ("The Ballad of Davy Crockett") and Johnny Mathis ("Chances Are"). It's not a definitive overview of pop hits of the era, but it's still a nice sampler of some highlights from one of the most popular and successful labels of the decade. ~Stephen Thomas Erlewine

16 Most Requested Songs: The 1950s Vol. 1

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Album: 16 Most Requested Songs: The 1950s Vol 2
Bitrate: MP3@320K/s
Time: 44:15
Size: 101.3 MB
Styles: Easy Listening, Vocal pop
Year: 1989
Art: Front

[3:19] 1. Sammy Kaye And His Orchestra - Harbor Lights
[2:48] 2. Guy Mitchell - My Truly, Truly Fair
[3:02] 3. Johnnie Ray - Cry
[2:07] 4. Frankie Laine - I Believe
[3:15] 5. Percy Faith & His Orchestra - Song From Moulin Rouge
[3:03] 6. Tony Bennett - Stranger In Paradise
[2:23] 7. Rosemary Clooney - This Ole House
[2:14] 8. The Four Lads - Skokiaan (South African Song)
[3:06] 9. Doris Day - I'll Never Stop Loving You (78rpm Version)
[3:18] 10. Louis Armstrong - Mack The Knife
[2:50] 11. The Four Lads - Standing On The Corner
[2:03] 12. Doris Day - Whatever Will Be, Will Be (Que Sera, Sera) (Single Version)
[2:23] 13. Terry Gilkyson - Marianne (Single Version)
[3:03] 14. Johnny Mathis - It's Not For Me To Say
[2:28] 15. Marty Robbins - A White Sportcar (And A Pink Carnation)
[2:45] 16. Vic Damone - An Affair To Remember

16 Most Requested Songs of the 1950s, Vol. 2 contains a selection of traditional pop, vocal pop and easy-listening hits from the Columbia Records vaults, including performances from Sammy Kaye ("Harbor Lights"), Guy Mitchell ("My Truly, Truly Fair"), Frankie Laine ("I Believe"), Tony Bennett ("Stranger in Paradise"), Vic Damone ("An Affair to Remember"), Doris Day ("I'll Never Stop Loving You," "Que Sera, Sera (Whatever Will Be, Will Be)"), Rosemary Clooney ("This Ole House") and Marty Robbins ("A White Sport Coat (And a Pink Carnation)"). It's not a definitive overview of pop hits of the era, but it's still a nice sampler of some highlights from one of the most popular and successful labels of the decade. ~Stephen Thomas Erlewine

16 Most Requested Songs: The 1950s Vol 2

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Troy Dexter - Shoptalk

Bitrate: MP3@320K/s
Time: 38:47
Size: 88.8 MB
Styles: Jazz guitar
Year: 2016
Art: Front

[4:41] 1. Ground Hero
[4:53] 2. Between Faith And Fear
[5:30] 3. Shoptalk Shuffle
[5:17] 4. Remembering Tomorrow
[4:22] 5. Sunday School
[4:41] 6. La Destiladera
[4:27] 7. Four Quarter Miles
[4:53] 8. Charlie Ray's Way

I am a freelance guitarist/indie record producer based in Los Angeles, CA. I do sightread, play many styles and play related doubles such as acoustic, banjo and mandolin etc. I enjoy doing session and live work of all kinds and am always looking to work with new singers, songwriters, composers and producers who are passionate about what they are doing. I have my own studio, "The Shop" where I now do a lot of my session work and producing live and via the internet.

Shoptalk

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Joe Henderson - Page One

Bitrate: MP3@320K/s
Time: 41:55
Size: 96.0 MB
Styles: Bop, Saxophone jazz
Year: 1999
Art: Front

[7:57] 1. Blue Bossa
[9:04] 2. La Mesha
[4:10] 3. Homestretch
[6:02] 4. Recordame (Remember Me)
[7:19] 5. Jinrikisha
[7:20] 6. Out Of The Night

The title Page One is fitting for this disc, as it marks the beginning of the first chapter in the long career of tenor man Joe Henderson. And what a beginning it is; no less than Kenny Dorham, McCoy Tyner, Butch Warren, and Pete La Roca join the saxophonist for a stunning set that includes "Blue Bossa" and "Recorda Me," two works that would be forever associated with Henderson. Both are bossa novas that offer a hip alternative to the easy listening Brazilian trend that would become popular with the masses. Henderson and Dorham make an ideal pair on these and other choice cuts like the blistering "Homestretch" and the engaging swinger "Jinrikisha." These both show the already mature compositional prowess that would become Henderson's trademark throughout his legendary career. The final blues number, "Out of the Night," features powerful work by the leader that only hints of things to come in subsequent chapters. ~AllMusic

Page One

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Victor Feldman - The Arrival of Victor Feldman

Styles: Vibraphone Jazz

Year: 1958

File: MP3@320K/s

Time: 42:11

Size: 96,9 MB

Art: Front

(3:28)  1. Serpent's Tooth

(5:31)  2. Waltz

(3:58)  3. Chasing Shadows

(3:18)  4. Flamingo

(4:29)  5. S'posin'

(2:46)  6. Bebop

(4:25)  7. There Is No Greater Love

(4:13)  8. Too Blue

(4:00)  9. Minor Lament

(5:59) 10. Satin Doll

Victor Feldman had first recorded as a leader when he was 13 and a swing-based drummer. In 1957, he moved from his native London to the United States, and by early 1958 (when he was 23) was in great demand as a pianist and vibraphonist. For his second American release and debut for the Contemporary label, Feldman is completely in the spotlight. Joined by the brilliant bassist Scott La Faro (whose playing is a strong reason to acquire the album) and drummer Stan Levey, Feldman performs a mostly boppish set including "Serpent's Tooth," "There Is No Greater Love," Dizzy Gillespie's "Bebop," a Chopin waltz and three of his diverse originals. An excellent showcase for the still-developing Victor Feldman. ~ Scott Yanow http://www.allmusic.com/album/the-arrival-of-victor-feldman-mw0000037116

Personnel: Victor Feldman (vibraphone); Scott LaFaro (bass); Stan Levey (drums).

The Arrival of Victor Feldman

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Lori Williams - Eclipse of the Soul

Styles: Vocal, Soul
Year: 2012
File: MP3@320K/s
Time: 72:34
Size: 167,1 MB
Art: Front

(4:28)  1. Body & Soul
(6:18)  2. Don't Ask My Neighbors
(6:39)  3. Day By Day
(1:48)  4. Eclipse of the Soul - Spoken Word
(7:46)  5. Edclipse of the Soul
(7:43)  6. What Was I To Do
(1:51)  7. Body and Soul Outro - I Surrender
(6:44)  8. Scream Freedom
(7:17)  9. La Vie En Rose
(5:53) 10. What Have I Found In You
(7:32) 11. Moonlit Sky (Moonlight Sonata)
(8:29) 12. Mother Black Crow

Eclipse of the Soul - Liner Notes:  "In the ever-crowded field of aspiring jazz vocalists it is always such a pleasure to encounter an emerging artist who stands out in the crowd. Lori Williams is one such artist deserving of your attention. Her latest effort, which by now ought to be spinning merrily and impressively in your CD player or on your personal stereo device, is "Eclipse of the Soul," and she's clearly coming from a more diverse and more optimistic place than she was with her previous effort "Healing Within." At that point in 2010 Lori was obviously under the influence of some personal pathos that dripped from pretty much every track of that nonetheless quite striking release. Despite the heavy load she was clearly carrying when she made "Healing Within" (as if that title wasn't clue enough!), it has often been the case that artists in the midst of personal challenges deliver some of their most penetrating work. With "Eclipse of the Soul" Lori has come out on the other side of that pathos, clear of mind, bursting with spirit, and delivering her music with a lovely smile.  Take the opener, the familiar chestnut "Body and Soul" for example. That standard, floating on the wings of Allyn Johnson's churchy, swinging piano, is finely capped in a short reprise later on the disc. The key to Lori's take is an uncharacteristic uptempo arrangement; a choice she made to bring more punch and a fresher approach to the well-known melody. She sings of "surrender", and you'll quickly relinquish your ears to Lori and her joyous energy as she gets things underway with great joy; and dig her chuckle at the close! As for the #7 reprise, "I thought it would be a cool segue to the next half of the CD," says Lori, "almost a brief reminder of the opener, but the flavor is a bit different."

Inspired by The Emotions memorable reading of the Skip Scarborough vehicle "Don't Ask My Neighbors," Lori proves there is indeed gold to be mined from 70s pop. She's quite relaxed in her passion, even crafting attractive multi-tracked harmonizing to the mix. Tracy Cutler's appealing soprano saxophone rides first class over Benjie Porecki's B-3 organ and synth string bed. Not only has she cannily chosen a program of compatible familiars and new challenges, but Lori also knows how to keep good, challenging instrumental company. Pianist William Knowles' "What Was I To You" is dedicated to the late Saltman-Knowles drummer Jimmy "Junebug" Jackson. "I just wanted to dedicate this one to him," says the genial, vivacious singer. "It's one of my favorite William Knowles' tunes and he was gracious to allow me to record it." One of the hallmarks of this record is Lori's programmatic range. Not intent to simply lay down a series of standards with typical piano-bass-drums jazz date accompaniment, she mixes her partners, engaging the cream of the DC area's rich jazz crop to assist her, and warmly welcomes her children onto the date. Daughter Lauren provides attractive flute and vocal harmonies to her arrangement of Lori's original "Eclipse of the Soul," to which our leader lends further distinction with some spoken word. And her 4-year old son Yusef Khalil tags a sweet message on the end of Lori's original "Mother Black Crow." Additionally three of Ms. Williams' students at Woodrow Wilson HS were thrilled to make their studio debut, acquitting themselves quite nicely on "Mother Black Crow." ~ http://www.cdbaby.com/cd/loriwilliams1

Not only are we welcomed into the parlor of Lori Williams the songwriter, she has also carefully delivered a few somewhat unlikely choices to this date; such as a surprising arrangement of the Beethoven classic "Moonlight Sonata," christened "The Moonlit Sky" for this occasion. "You'll notice the latter half expresses my jazzier feel to this classical selection," Lori enthuses. And who could forget Louis Armstrong's touching rendition of the Edith Piaf classic "La Vie En Rose"? Lori puts her own personal stamp on that lovely continental melody as well. One comes away from "Eclipse of the Soul" rewarded by the obviously upward arc of Lori Williams artistic development, and mightily impressed at her programmatic skills as well. Here's a singer who is definitely on the rise. Listen out for Lori Williams!" ~ Willard Jenkins, Open Sky Jazz/Home of the Independent Ear/WPFW-FM

“Lori Anne Williams has the sought-after combination of soul and technical prowess that reminds me of Ella Fitzgerald – a treat to any jazz fan’s ears.”~ Nathaniel Rolnick, Muzikreviews

“ . . . the talented and vocally acrobatic Lori Anne Williams. Her vocal scatting soars . . . Her tone and control are superb,
and her inventiveness is inspired.”~ Ralph A. Mirello, Jazz

“Singer Lori Anne Williams is back with her warm and rich voice, and she’s as earthy as red clay, be it with lyrics, or
without.” ~ George Harris, JazzWeekly

Eclipse of the Soul

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Coleman Hawkins - The Hawk Flies High

Styles: Saxophone Jazz
Year: 1957
File: MP3@320K/s
Time: 39:19
Size: 90,6 MB
Art: Front

( 5:08)  1. Chant
(11:17)  2. Juicy Fruit
( 3:25)  3. Think Deep
( 4:34)  4. Laura
( 5:44)  5. Blue Lights
( 9:10)  6. Sancticity

Many of the great improvisers from the swing era were unable to hurdle the bebop fence into relevance in the fifties, but Coleman Hawkins continued to create worthwhile records up until the end of his life. How? Not by changing his style to suit the times, but by demonstrating that his approach could fit into a variety of contexts. Thus he was able to gig with Coltrane and Monk where others might have faltered. But Hawkins also continued to lead sessions, often with the benefit of selecting the sidemen himself.  The Hawk Flies High, recorded in 1957, was the first in a series of dates that reaffirmed Hawkins as one of the greatest tenor players of all time. Joined by the powerful JJ Johnson and the lesser known but still scrappy Idrees Sulieman in the front line and an equally gifted rhythm section behind them, Hawk and company tear through a selection of tunes that blend both the small group Kansas City swing where Hawkins cut his teeth and the more modern soul jazz beginning to emerge through the efforts of younger players. There are only six cuts here, which allows everyone plenty of room to stretch out (with this much talent, it would be a crime to leave anyone out).  Although everyone solos well, Hawkins is clearly the main attraction, spitting out the raspy gusts and sweeping waves that make his solos such a delight to hear. While Hawkins can handle a ballad as prettily as anyone, the real show is on the blues numbers, like "Juicy Fruit," which features bold and assertive soloing from the tenor man and inspires everyone else to rise to the occasion as well. Although remastered in 20 bits, somehow the balance still seems off at times, with Hank Jones virtually inaudible when all three horns are playing and Pettiford a murky presence when he solos. Despite this flaw, The Hawk Flies High is a terrific record that brought Hawkins back into the spotlight after a long period of obscurity. It kicked off a series of great records for Riverside and Prestige and even better ones for Verve. He lost little of his edge throughout his life, and the later sessions like this one are small treasures. ~ David Rickert https://www.allaboutjazz.com/the-hawk-flies-high-coleman-hawkins-riverside-review-by-david-rickert.php
 

Personnel: Coleman Hawkins - tenor sax; Idrees Sulieman - trumpet; JJ Johnson - trombone; Hank Jones - piano; Barry Galbraith - guitar; Oscar Pettiford - bass; Jo Jones - drums.

The Hawk Flies High

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One For All - Incorrigible

Styles: Jazz, Straight-Ahead/Mainstream 
Year: 2010
File: MP3@320K/s
Time: 55:10
Size: 126,7 MB
Art: Front

(6:04)  1. Bewitched, Bothered, and Bewildered
(8:20)  2. Petite Ange
(5:46)  3. Voice
(5:28)  4. Incorrigible
(7:13)  5. Blues for Jose
(8:13)  6. Spirit Waltz
(6:34)  7. Back to Back
(7:28)  8. So Soon

One for All's Incorrigible showcases some of the best original writing the group has had in its 14 releases. It no longer sounds like a bunch of "young lions" thrown together in a recording studio. Cohesive and interdependent, these musicians bring out the best in one another, resulting in an album filled with thoughtful communication and high energy improvisation. "Bewitched, Bothered, and Bewildered," the only non-original tune, opens the album. A disappointing arrangement lacks the interest and originality of the other tracks. Usually taken as a ballad, this up-tempo modern interpretation is ambitious but falls far short of tenor saxophonist Eric Alexander's take of it elsewhere, as a leader. This is the third time Alexander has recorded the tune but it's his least melodic approach. Alexander, trombonist Steve Davis and pianist David Hazeltine sputter out impressive patterns in a modern context continuously, but lack the melodic continuity in their solos to draw the listener in. Drummer Joe Farnsworth is able to rekindle the spark of this recording with a brilliant drum solo before the group makes its way back to the head. From this point on, the album is borderline magical. Hazeltine's "Petite Ange" is eerily macabre from the opening chords on the piano. Farnsworth seems to really enjoy playing on this one, making the most of his snare in tasteful fills as he dances all over his ride cymbal in crystal clear precision. Trumpet player Jim Rotondi blows his way through the changes with poise thanks to the support of bassist John Webber, who maintains Hazeltine's intentions with a solidified groove. Rotondi is heard next on "Voice," his tribute to trumpeter Freddie Hubbard. A mournful ballad kicks into an easy-swing for the blowing, where Rotondi and Hazeltine play inspired modern bop that is flowing and refined.

Kicking things into high gear is Alexander's aptly named title track. Weaving in and out of several key centers, it is reminiscent of John Coltrane's "Giant Steps" in the fact that it sounds more like an exercise than a composition. Rotondi and Alexander demonstrate complete domination in playing over the challenging progression. It is easy to hear the growth in Davis' playing as he takes on this war horse with a great deal of success, contributing a short but exceptionally melodic solo. Hazeltine sounds equally at home with this difficult tune, offering another quality solo before the melody is restated. Relaxed yet dripping with bop, "Blues for Jose" is propelled by a 12/8 feel given by Farnsworth, accentuated with tasty voicings from Hazeltine until things move into more of a two-beat swing feel from Webber given underneath the piano solo. In stark contrast is Davis' haunting "Sprit Waltz," very redolent of pianist Horace Silver's writing. Davis, Alexander and Hazeltine aren't afraid to stretch a bit on this one. Farnsworth effectively captures the darkness of this piece with a very melodic drum solo akin to Max Roach.  Continuing in the Horace Silver vein, Rotondi's brilliant "Back to Back" employs a catchy bass ostinato in the introduction setting the stage for a simple but swinging melody from the trumpet. Alexander settles in comfortably with this tune and offers up the most lyrical of all his improvisations on the album. Likewise, Rotondi is right at home with these changes and plays with a conviction not heard on his previous offerings.  

A satisfying conclusion, Davis' infectious shuffle "So Soon" grooves harder than anything else on the album. The triplet-infused feel of Farnsworth makes this simple melody come alive. Davis' best writing always lends itself well to a big band context because of the natural growth that occurs in his compositions due to well thought out background figures and the way his charts make a rhythm section groove like no other. All three horns and Hazeltine solo. All four nail it. As with any One for All recording, this features many great improvisations from some of the best hard-bop musicians today. Steve Davis in particular plays well. Normally in the shadow of Alexander and Rotondi, Davis has proven that he can hold his own in this all-star group. While the sophistication of improvisation is impressive, the real treat with this album is the quality of the original composition. Eric Alexander, Steve Davis, David Hazeltine and Jim Rotondi have always authored quality tunes but these demonstrate growth and inspiration. This fine album is evident of fresh new music encompassing many styles of jazz. ~ Sean Coughlin  https://www.allaboutjazz.com/one-for-all-incorrigible-by-sean-coughlin.php

Personnel: Jim Rotondi: trumpet and flugelhorn; Eric Alexander: tenor saxophone; Steve Davis: trombone; David Hazeltine: piano; John Webber: bass; Joe Farnsworth: drums.

Incorrigible

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The Smithereens - The Smithereens Play Tommy

Styles: Vocal, Rock
Year: 2009
File: MP3@320K/s
Time: 41:28
Size: 99,0 MB
Art: Front

(3:30)  1. Overture
(1:34)  2. It's A Boy
(3:15)  3. Amazing Journey
(3:31)  4. Sparks
(2:10)  5. Eyesight To The Blind
(3:24)  6. Christmas
(3:29)  7. Acid Queen
(3:03)  8. Pinball Wizard
(3:31)  9. Go To The Mirror
(1:09) 10. Tommy Can You Hear Me?
(2:27) 11. Sensation
(2:32) 12. I'm Free
(7:48) 13. We're Not Gonna Take It / See Me Feel Me

After releasing two albums devoted entirely to Beatles tunes in a year and a half (Meet the Smithereens! and B-Sides the Beatles), the Smithereens clearly wanted to prove that they were still a band capable of more than just coasting on the strength of another act's legacy, and with this in mind they've decided to boldly branch out  and spend an entire album covering the Who. The Smithereens Play Tommy is, you guessed it, the Smithereens' own rather faithful interpretation of Pete Townshend's rock opera about a deaf, dumb, and blind pinball champion and spiritual leader, though they have tightened it up quite a bit, editing the piece from 24 selections to a lean 13 tunes and zipping through the work in 41 minutes. It's hard not to be baffled by the Smithereens' decision to become a cover band, but they do seem better suited to interpreting the Who than the Beatles; guitarist Jim Babjak may lack Townshend's epic vision and sense of flourish, but he gets the crunchy bash of this music right, and drummer Dennis Diken and bassist Severo Jornacion find a way to pare down the style of the most manic rhythm section in rock history while achieving some approximation of their power and musical sense. Lead vocalist Pat DiNizio's deep, moody tone doesn't match Roger Daltrey's style any more than it did Paul McCartney's or John Lennon's, but at least these songs are better suited to the dark, dramatic feel of DiNizio's instrument, and Babjak and Diken contribute lead vocals on a few tunes that demand something lighter. 

And while this condensed version of Tommy makes about as much narrative sense as the original (which is to say not much), from a musical standpoint the feel of the album is pretty close to the Who's version, especially the several live recordings of the opera that have appeared in recent years. So the Smithereens do better by the Who on The Smithereens Play Tommy than they did by the Beatles, but that doesn't change the fact that as long as the Who's Tommy remains readily available (and it's actually easier to find than this disc), this album is little more than an oddity for Smithereens completists and Who fans obsessive enough to want every cover version of their favorite band's work. In short, this gets an A for effort but a C- for practical utility. (The Smithereens do deserve credit for hiring William Stout to do the cover, whose witty cartoon artwork graced the sleeves of several top-notch Who bootlegs.) ~ Mark Deming http://www.allmusic.com/album/the-smithereens-play-tommy-mw0000815672

Personnel: Jim Babjak (vocals, guitar, background vocals); Pat DiNizio (vocals, guitar); Dennis Diken (vocals, drums, percussion, background vocals); Severo Jornacion (bass guitar).

The Smithereens Play Tommy

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Wild Bill Moore - Bottom Groove

Bitrate: MP3@320K/s

Time: 76:29

Size: 175.1 MB

Styles: Soul jazz, Saxophone jazz

Year: 1961/2002

Art: Front

[6:45] 1. Heavy Soul

[5:56] 2. A Good 'un

[5:27] 3. Tearin' Out

[6:50] 4. Wild Bill's Beat

[5:10] 5. Things Are Getting Better

[5:17] 6. Bubbles

[5:14] 7. Just You, Just Me

[6:20] 8. Sister Caroline

[5:36] 9. Bottom Groove

[5:34] 10. My Little Girl

[5:35] 11. Down With It

[7:10] 12. Sea Breezes

[5:30] 13. Caravan

Many of the tenor saxophonists who came out of the honker school of the '40s and early '50s had no problem being relevant to the soul-jazz scene of the '60s. That's because '60s soul-jazz was very much an extension of classic honker music; the recordings that big-toned tenor titans like Willis "Gator" Jackson and Arnett Cobb provided in the '60s were not a radical departure from their early sessions. Influenced by Illinois Jacquet and Chu Berry, Wild Bill Moore was the essence of an extroverted, big-toned, hard-blowing honker -- he epitomized what critic Scott Yanow calls "rhythm & jazz" (that is, jazz with strong R&B leanings). This 76-minute CD, which Fantasy assembled in 2002, reissues two Orrin Keepnews-produced albums that Moore recorded for Jazzland in 1961: Bottom Groove and Wild Bill's Beat. Both albums employ Joe Benjamin on upright bass, Ben Riley on drums, and Ray Barretto on congas, but while Wild Bill's Beat features pianist Junior Mance, Bottom Groove is an organ date with Johnny "Hammond" Smith (one of the countless Jimmy Smith-minded organists who was active in the '60s). Despite the fact that one album has a pianist and the other has an organist, they are quite similar. Both are state-of-the-art soul-jazz, and both are highly accessible; people who, in the '60s, felt that a lot of post-swing jazz was too cerebral and abstract for its own good had no problem getting into straightforward players like Moore. Soulful accessibility is the rule whether Moore is playing original material or turning his attention to Nat Adderley's "Sister Caroline" and Duke Ellington's "Caravan." Naturally, there are plenty of 12-bar jazz-blues grooves, and Moore shows listeners how appealing a ballad player he could be on the dreamy "Sea Breezes." This CD is well worth acquiring if you have a taste for '60s soul-jazz. ~Alex Henderson

Bottom Groove

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The Anita Kerr Singers - Mellow Moods Of Love

Bitrate: MP3@320K/s
Time: 37:21
Size: 85.5 MB
Styles: Easy Listening, Vocal harmony group
Year: 1965/2015
Art: Front

[3:33] 1. Street Of Dreams
[2:21] 2. Honeymoon
[2:56] 3. All Of You
[3:50] 4. The Masquerade Is Over
[3:05] 5. Ev'ry Time We Say Goodbye
[3:01] 6. Don't Dream Of Anybody But Me
[2:50] 7. Have I Told You
[2:59] 8. The Good Life
[3:25] 9. People
[3:02] 10. The Girl From Ipanema
[3:21] 11. The Girl That I Marry
[2:53] 12. I Had The Craziest Dream

Anita Kerr is a softly spoken, petite lady from Memphis, Tennessee. Her string of successes in many different styles did not happen by chance. She is one of the most talented and professionally accomplished women in popular music history. Her group the Anita Kerr Singers went on to beat the Beatles (when the Beatles were at the height of their powers) for Best Vocal Group Performance in the 1965 Grammys. Yet she barely gets a mention in most music reference books. Listen to this CD closely, and you will see why she was given the name of America's first lady of music! ~Mr. B. Pugh

Mellow Moods Of Love

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Ralph Sutton - Easy Street

Bitrate: MP3@320K/s
Time: 67:02
Size: 153.4 MB
Styles: Piano jazz
Year: 1991/2000
Art: Front

[5:24] 1. Please Don't Talk About Me When I'm Gone
[3:58] 2. Mary Lou
[4:16] 3. Easy Street
[4:06] 4. Clarinet Marmalade
[4:31] 5. June Night
[7:42] 6. When I Grow Too Old To Dream
[5:24] 7. Wolverine Blues
[5:11] 8. Tea For Two
[5:06] 9. A Hundred Years From Today
[4:43] 10. Blues My Naughty Sweetie Gave To Me
[4:35] 11. Handful Of Keys
[6:34] 12. T'ain't So Honey T'ain't So
[5:27] 13. China Boy

During a 1991 tour of Australia, the great stride pianist Ralph Sutton teamed up with the talented cornetist Bob Barnard and drummer Len Barnard. There are a pair of duets apiece by Sutton with just one Barnard at a time and the pianist takes Fats Waller's "Handful of Keys" unaccompanied in addition to performing eight trio numbers. Sutton mixes together obscurities (such as J. Russell Robinson's "Mary Lou" and "June Night") and more familiar but superior numbers such as "Please Don't Talk About Me When I'm Gone," "Wolverine Blues" and "China Boy." Bob Barnard sounds in particularly inspired form, making this a delightful set that classic jazz fans will certainly enjoy. ~Scott Yanow

Easy Street

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